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SMALLEY, DENIS - Sources / Scenes

Format: CD Label & Cat.Number: Empreintes Digitales IMED 054 Release Year: 2000 Note: back in stock this album with four great pieces by the Canadian composer, which reminded us on HARRY BERTOIA, HAFLER TRIO or other abstract sound alchemists: "Base Metals" (2000) uses and transforms the sounds of DEREK SHIELs metal sculptures in a fascinating way, "Empty Vessels" (1997) is based on recordings inside garden vessels and jars, "Tides" (1984) works on the analogies between water and sound, "Pentes" (1974): Northumbrian Pipes form spacious landscapes Price (incl. 19% VAT): €14.00 Warning: Currently we do not have this album in stock! More Info "Der kanadische Elektroakustiker mit seiner dritten (?) CD für Empreintes Digitales. Wunderbare, reine Sounds bar jeglicher konventioneller Strukturen, trotzdem spannungsgeladen & umwerfend sinnlich – die metallisch-geisterhafte Qualität erinnert an BERTOIA, die Dynamik an HAFLER TRIO, großartig!! Great CD by this Canadian electro-acoustic composer, a pure & rich soundworld beneath all conventional structures with lots of tension and deeply sensual – the metallic-ghostly quality of these sounds reminded us on HARRY BERTOIA but also HAFLER TRIO!" [Drone Rec. info] "The idea of a principal sound source as provider of the central material and concept unites three works on this CD, and is embodied in their titles — Tides, Empty Vessels, and Base Metals. In each case a characteristic sound acts as a central reference as well as ‘irrigating’ the piece. But it also inspires and guides the choice of other sounds and the play of relationships among them, thereby influencing musical form. In Empty Vessels it is the sound of air resonating in large garden pots along with recordings of the surrounding environment. In Tides it is two water recordings — a closely recorded water texture which furnishes the ‘pool’ sequences, and a recording of the approaching sea which gives the second movement (Sea Flight) its wave forms. Finally, in Base Metals, the resonances of a family of metal sound sculptures provide the rich reservoir of colorful sound spectra which enable harmonic and timbral evolutions. Quite noticeable in all these works is the absence of a human presence in the sonic fabric. With the exception of the pipes in Pentes, a few distant traces of human activity near the start of Empty Vessels, and possibly some reminders of instrumentally instigated timbres in Base Metals, the listener–spectator is left to observe and experience the scenes and spaces, alone. Between and beyond the loudspeakers virtual, metaphorical worlds approach and encroach in sonic flow, and are revealed for imaginative contemplation." [Dennis Smalley]